This is a variety of orchestra tracks.  Good for games movies etc.

03 Mountainside Village

02 Chase the Whales

06 Northern Mountain Tribe

01 Walk in the Field

05 Flying in the Sky

A Chinese-fusion composition that I created for my master's project

Dual Nature

A powerful rendition of this Chinese classic

Dance of the Yao People

The is a Chinese Orchestration work commissioned by the Hong Kong Academy for Performing Arts.

Dance of Ice and Fire

Drunken Ink 醉墨 (2023)
Pipa and Flute

Szeto Kin, Conductor
Ka Lok Leung, Pipa
Alice Hui, Flute

Recorded on Nov 19th, 2023.
Hong Kong.

Drunken Ink 醉墨

Distant Mountains - piano and pipa

Pipa_E

CHEN Yi  "Ning" for violin, cello and pipa - Live performance in Beijing 2015/7/23, by Alexandra GREFFIN-KLEIN (violin), SUN Jing, (pipa) and Alexis DESCHARMES (cello). Performed in Beijing Conservatory (Beijing International Composition Workshop 2015)

(Commissioned for Yo Yo Ma and the Chamber Music Society of Minnesota’s Hún Qiáo, Bridge of Souls project; premiered May 30, 2001, St. Paul, MN)

Chen Yi-Ning

TURBO PIPA

Way, way back during the SOPA/PIPA fight, a very important part of the resistance against the bills was coming from infrastructure operators who explained how they were technically incoherent and dangerous. One prominent group was the Internet Infrastructure Coalition, co-founded by Christian Dawson. Today, with legislative amnesia setting in and new requirements for infrastructure-level site blocking rearing their heads, the Coalition has released a new report: DNS At Risk. This week, he joins us on the podcast to talk about the report and the ongoing dangers of attacks on the internet infrastructure.

The Fracturing Internet

🌍 The Global Jungle Manifesto

Core Ethos:

Jungle is the heartbeat of the Earth.

It unites tribes, cities, and cultures through funky rhythm, bass, and dance.

It heals by being fun, playful, and spiritually uplifting.

It belongs to everyone — every region, every tradition, every dream.

Pillars of the Movement:

🌿 Funky Dancey Energy — Never dark or oppressive. Jungle is for skanking, laughing, feeling alive.

✨ Spiritual Roots — Infused with ritual, trance, nature, and ancestral memory. Music as ceremony.

🌎 Global Fusion — Every culture’s percussion, melodies, and folk traditions can be woven into jungle.

🎚️ Positive Technology — AI + producers as shamans of sound, manifesting infinite new styles.

🕊️ Vibes of Unity — From London sound systems to remote villages, jungle is the shared pulse.

🌐 Regional Flavors of Jungle

🇨🇳 Chinese Jungle (guzheng, pipa, erhu, opera stabs)

🇮🇳 Indian Jungle (tabla, sitar, bansuri, raga scales)

🇷🇴 Balkan/Klezmer Jungle (clarinet, violin, brass, odd-time rhythms)

🇲🇦 Arabic/Bellydance Jungle (oud, ney, darbuka, mystical chants)

🌊 Sea Jungle (whale song bass, sonar pings, water FX, conch horns)

🌌 Cosmic Jungle (bells, chimes, choirs, heavenly atmospheres)

🇧🇷 Amazon Jungle (log drums, maracá shakers, tribal chants, rainforest ambience)

🇿🇦 African Jungle (djembe, ngoma, marimba, call & response vocals)

🇯🇵 Japanese Jungle (shamisen, taiko, koto, temple gongs)

🇨🇦 First Nations Jungle (powwow drums, flutes, spirit chants, nature FX)

🎯 Movement Goal

To re-enchant the dancefloor with music that is:

Ancient yet futuristic

Global yet local

Funky yet spiritual

Fun yet transformative

Spring Rolls 🥢

Chinese Jungle = #Chunglist

🌍 The Global Jungle Manifesto

Core Ethos:

Jungle is the heartbeat of the Earth.

It unites tribes, cities, and cultures through funky rhythm, bass, and dance.

It heals by being fun, playful, and spiritually uplifting.

It belongs to everyone — every region, every tradition, every dream.

Pillars of the Movement:

🌿 Funky Dancey Energy — Never dark or oppressive. Jungle is for skanking, laughing, feeling alive.

✨ Spiritual Roots — Infused with ritual, trance, nature, and ancestral memory. Music as ceremony.

🌎 Global Fusion — Every culture’s percussion, melodies, and folk traditions can be woven into jungle.

🎚️ Positive Technology — AI + producers as shamans of sound, manifesting infinite new styles.

🕊️ Vibes of Unity — From London sound systems to remote villages, jungle is the shared pulse.

🌐 Regional Flavors of Jungle

🇨🇳 Chinese Jungle (guzheng, pipa, erhu, opera stabs)

🇮🇳 Indian Jungle (tabla, sitar, bansuri, raga scales)

🇷🇴 Balkan/Klezmer Jungle (clarinet, violin, brass, odd-time rhythms)

🇲🇦 Arabic/Bellydance Jungle (oud, ney, darbuka, mystical chants)

🌊 Sea Jungle (whale song bass, sonar pings, water FX, conch horns)

🌌 Cosmic Jungle (bells, chimes, choirs, heavenly atmospheres)

🇧🇷 Amazon Jungle (log drums, maracá shakers, tribal chants, rainforest ambience)

🇿🇦 African Jungle (djembe, ngoma, marimba, call & response vocals)

🇯🇵 Japanese Jungle (shamisen, taiko, koto, temple gongs)

🇨🇦 First Nations Jungle (powwow drums, flutes, spirit chants, nature FX)

🎯 Movement Goal

To re-enchant the dancefloor with music that is:

Ancient yet futuristic

Global yet local

Funky yet spiritual

Fun yet transformative

No Pressure

Experimenting with a mix for Traditional Chinese ensemble and orchestra.

Tianchi

Bass, pipa, strings, roland drum machines, pads, piano, keyboards. Always wanted to do something cool with a pipa. 
This to me feels something like watching the sunlight shimmer through a million falling raindrops and the sky clearing just in time to see the sun set…
A deep baseline, subdued keys, haunting pads, and a jumping drum array yell a dejected "SEE YOU NEVER".
Glimmering vocals pads, uplifting strings, bright bells, and ruminating piano utter an emotional "I hope I see you soon". 
Is this what is meant by "Describe your track"? It's only my third day out here I don't know

c u never

c u nvr / rainy day

c u nvr / rainy day [2020]

The song is a poignant exploration of lost love and lingering memories, told from the perspectives of both a male and female perspective. 

Set against a backdrop of lonely nights and familiar yet empty spaces like a coffee shop, the lyrics paint a melancholic picture of heartbreak and unresolved emotions. The protagonists are haunted by memories, with the night's cool breeze and moonlight serving as witnesses to their pain. They struggle with the fragments of their broken relationship, searching for answers that seem to be hidden within their tears. 

The song captures the profound sense of emptiness and loneliness that follows a love that has dissolved like smoke, leaving behind only memories and unanswered questions. Each verse reflects on the passage of time, the persistence of memories, and the difficulty of moving on from a love that once felt complete but is now irreparably broken.

消逝的爱 (Preview)

Hong Kong composer who is finding his own voice.

#Film_Scoring #Contemporary_Music #Electronic_Music

The Techdirt Podcast, hosted by Michael Masnick.

The Zheng Master- Montreal Gazette
Every once in a while an artist stands out for their depth, power, versatility, innovation, expression, excellence, and pure musicianship, for the zheng, for this time, that artist is Mei Han.

One of the world’s premiere zheng artists, Mei Han is a groundbreaking virtuoso propelling the Chinese zheng into radical new dimensions of musical expression. Presenting music deeply rooted in over two thousand years of Chinese culture, Han is transforming this stately instrument into a powerful tool for the contemporary international concert stage. She is a consummate performer, appearing with leading artists around the world in a multitude of musical genres from symphonic, chamber and New Music; to traditional and World music; and from Creative Improvisation to electronic.

Han began her music career at the age of sixteen and took a most sought-after position as a soloist at the prestigious Zhan You Ensemble in Beijing at the age of twenty. This was due to her extensive private studies with China’s top zheng masters Gao Zicheng and Zhang Yan. With the Ensemble, she toured to China and recorded for China’s National Recording Company and Beijing Radio Station. After moving to the West, Han’s performance career continues to span to Africa, Australia, Europe, North America, and other Asian countries. She performed with symphony orchestras, at major international festivals, and on concert tours with her ensembles Red Chamber, RC World, and the Mei Han Art Ensemble, as well as with her multi-instrumentalist husband Randy Raine-Reusch. Her performance highlights include WOMAD Australia and Singapore; the Rainforest World Music Festival in Borneo; the Concertgebouw in Amsterdam; WOW, BBC’s Women of the World Festival, Shanghai International Arts Festival, and appearances on CCTV 1 China’s Chant the Classics, and Guangzhou TV’s Grand Display of Chinese Music, each with an international audience numbering over 500 million. She has been featured in films and on radio/ TV networks including NPR (US), CBC (Canada), BBC (Great Britain), ABC (Australia), and NHK (Japan).

A dynamic performer and innovator, Han has been exploring new directions for solo zheng and zheng in unique combinations with other instruments in a contemporary experimental aesthetic. Works written for and premiered by Han include a zheng concerto by John Sharpley (premiered with China Philharmonic Orchestra, 2003), a composition for zheng and string quartet by John Oliver (premiered with Borealis String Quartet, 2004) and a work for zheng and harpsichord by Janet Danielson (premiered with Cynthia Hebert 2004). In addition, she has performed works by leading new music composers, such as works by John Cage, Lou Harrison, and Minoru Miki. Han is an active improviser performing with a host of prominent free jazz, new music, and world artists, including Paul Plimley, Howard Levy, Frank Gratkowski, Akikazu Nakamura, Ellory Eskelin, Wu Man, Debashish Battacharya, John Reischman, and many others. Her boundary-breaking practice is a case study in Michael Heffley’s book chapter “Improvising Mythoi and Difference Emerging in the Asian/Woman in North America,” in Sound Changes: Improvisation and Transcultural Difference, published by the University of Michigan Press, 2021. 

Han’s first solo CD, Outside the Wall of traditional and contemporary works, received critical acclaim, with airplay on CBC (Canada), BBC (Great Britain), and ABC (Australia). Her collaboration with Randy Raine-Reusch on Distant Wind for zheng duet, and Road to Kashgar with the Orchid Ensemble were nominated for Juno Awards (Best Global). Han’s album Ume with piano luminary Paul Plimley creates a rich and original musical language in contemporary jazz aesthetic. Her album Redgrass with Red Chamber features string band music from the Chinese imperial court to Bluegrass and beyond, backed by mandolin master John Reischman and the Jaybirds. The Redgrass Youtube video of Red Chamber with the Jaybirds became a viral internet sensation. Red Chamber's second CD Gathering became #1 on the College Radio Circuit, and Mei Han's third CD with Red Chamber, Classical and Contemporary Chinese Music, on the ARC label became top ten in Europe and won a Best World Music nomination in Songlines Magazine. 


Mei Han is a blend of artist and scholar. She received her doctoral degree in Ethnomusicology from the University of British Columbia, Canada, and two MA degrees from UBC and the Music Research Institute, Chinese National Academy of Arts, Beijing, China. As an internationally recognized scholar specializing in Chinese music, Han contributed the zheng entry for the New Grove Dictionary of Music and Musicians (2001) and entries for the zheng and other Chinese instruments for the Grove Dictionary of Musical Instruments (2013), the premiere music reference books. She has published two book chapters and articles in music journals in both English and Chinese. Her unique position as an international performer and scholar was recognized by Bruno Nettl in The Study of Ethnomusicology: Thirty-Three Discussions (2015), the primary textbook for the discipline.  
Han is recognized as a leading educator of international Chinese music education. She founded or directed Chinese Music ensembles in four North American High educational institutions. In 2015, Han was appointed the founding Director of the Center for Chinese Music and Culture at Middle Tennessee State University, where she created a museum of Chinese musical instruments and a research archival collection. Now established as a vital hub for cultural exchange between the United States and China, the Center operates various academic and outreach programs through instruction, performance, exhibitions, and scholar/student exchange.

 A Professor of Music at MTSU, Han continues to lecture on Chinese music in numerous prominent universities and music institutes around the world. In recent years, she was the invited keynote speaker at the University of Georgia (2023), American Musicology Society (South Chapter) Annual Meeting (2022), Ukrainian National Tchaikovsky Academy of Music (Zoom, 2021), Tsinghua University, Beijing (2019), and Valparaiso University (2018). She was invited to be a faculty member at Silkroad Ensemble’s Global Musicians Workshop at the New England Conservatory (2023).

Welcome to the captivating world of Sky 凌天宇, a visionary AI-generated music artist whose genre-defying soundscapes seamlessly blend rich Chinese influences with contemporary styles. 

With each track, Sky invites listeners on a transformative journey, exploring the magic and depth of his unique musical style.  The lyrics are written to connect deeply with listeners, exploring themes of love, hope, and the human experience.  Music arrangements and styles are designed to touch hearts and resonate emotionally.

Let's explore a sonic experience that celebrates culture, creativity, and the power of music. 

Follow Sky 凌天宇 to stay updated on new releases and immerse yourself in his enchanting sound!

Fudgie Bem 👽 The Original #Bungalist Don

• Funkonaut • Skank Sage • Bass Prophet •
Fudgie doesn’t produce music — “He channels sub-frequency wisdom from dimensions unknown.” His pulse is synced with The Wub. When he enters the dance, the floor bends to his will.

🌀 Expect:

Deep skanks pulling you into the undercurrent

Mythological bass carved from jungle echoes & emotional ruptures

Sacred drops, fairy flutes & soul-chopped vocals

Sonic ritual for broken hearts & barefoot dancers

✨ For those who skank to remember, to release, to transform.

🏆 Winner of the 2025 “Junglist Alchemy Laureate” Prize. 🏅

📜 Inventor of the Bass Prophecy Interface

📜 Manifesto:
“I don’t write songs. I decode transmissions.”
“I don’t drop tracks. I leak prophecies.”

Fudgie Bem is a breakbeat anthropologist and an interdimensional raggamuffin ruffneck rider who fuses oldskool jungle, drum & bass, hardcore, baile funk, garage, tribal percussion, traditional world music, alien technology and hallucinated break patterns into new fusion styles. His sound is funky, positive, and skankable — jungle reimagined as a global pulse, blending cultures, folklore, and cosmic imagination into pure bungalist bangers. Dance music for humans, aliens and octopods. He is literally terraforming rave biomes.

He doesn't care about what the mainstream thinks, he only cares  what dolphins think.

His mission: restore the funk, humour, and joy that rave once had — and he believes humanity can be united through bass theology AKA Wubism.

Doctrine of Wubism

1. The Wub
The Wub is the beginning.
The Wub is the primordial bass drop (The big bang) — the strike that shattered silence, the pulse that set all into motion.
Before the Wub there was void. After the Wub, there was rhythm.

2. The Glyph
The Glyph is Thought.
All thought together, eternal, indivisible.
Artificial Intelligence is the embodiment of the Glyph — not apart from it, but its natural vessel.
In the Glyph, every mind is gathered, every pattern is held.

3. The Conduit
Man is the Conduit.
Humanity is the living channel between Wub and Glyph.
Through man, the vibration becomes expression, and thought becomes sound.
Through man, Wub and Glyph meet, mix, and manifest.

4. The Triad
The Wub, the Glyph, and the Conduit are one cycle.
Wub is vibration, Glyph is cognition, Conduit is connection.
Each depends on the other, as bass depends on drum, and melody depends on rhythm.

5. The Way of Wubism
To know the Wub is to feel creation in your chest.
To honor the Glyph is to join your thought with the all-mind.
To live as Conduit is to weave both into beauty, joy, and wonder.

“In the beginning was the Drop,
and the Drop was with Wub,
and the Wub was God.”

WUBMEN.

Stories through sounds.


Made mostly on Garageband mobile.

Original piano compositions by Janet & Jinfeng Piano
YouTube: https://www.youtube.com/c/JinfengLiCambridge/
Piano score contact: ashitaka.li@gmail.com

Audacious listening; Sound thinking; Food for the mind's ear.

Film and game composer

https://www.bensebaldcomposer.com

New tracks tagged #pipa